In this month’s Sheffield Theatres showcase, director Sarah Tipple discusses bringing Moliere’s farcical masterpiece, The Hypochondriac, to the Crucible Theatre stage.
Out of Molière’s plays, why did you choose to bring The Hypochondriac back to the stage?
There were a range of different reasons. First of all, Rob [Hastie, Sheffield Theatres Artistic Director] asked me if I’d want to do any Molière. I’ve directed comedy and farcy, fast-paced stuff before and it’s always lovely to have the opportunity to do something period.
I read Roger McGough’s translation of The Hypochondriac and quickly realised how much fun there was to be had. Because Roger’s adaptation is written in rhyming couplets, there’s this momentum to the text that feels quite musical. It felt like the obvious play to bring more music to.
On a personal note, as someone who can be quite anxious about their health, I guess there were some themes I felt that I could relate to. But there’s also a more serious point about people taking advantage of people’s fear, which feels quite topical at the moment.
Photo by Manuel Harlan
The role of experts – particularly those of the self-appointed variety – has been a hot topic in recent years.
Absolutely. We talked in rehearsals a lot about the idea of blind faith, especially with regards to people who tell you how to live your life when they stand to profit from that. That still feels quite relevant today. The play’s set in the 17th century, of course, so it’s not a direct parallel, but I think you can certainly see some contemporary relevance in the play.
Could you introduce us to Argon, the main character in the play?
Sure. Argon is the head of the household and is plagued with worries about his health. There are a lot of things in life which he struggles with, and his body is the place where he puts these anxieties. You first meet him as he’s paying invoices to quack doctors, and there’s this sense that he’s losing control. He comes up with a plan to get things back in order, or so he thinks, and chaos ensues…
Photo by Manuel Harlan
You’ve mentioned that you’ve directed farcical comedies before. What are the challenges in directing this type of play?
For me, the difficulty is getting the balance between micro-managing when needed but also allowing actors the chance to play and express themselves. It’s important, I think, to not get too obsessed with the joke, as you don’t want to have jokes at the expense of emotion. It’s important to ensure you’re still telling the story properly and giving the audience a chance to feel for the characters.
On a personal note, it’s a bit of a full-circle moment for you. You worked as an usher at Sheffield Theatres and are now returning to direct your own play. How does that feel?
It’s nice, and maybe there’s a bit more pressure involved! I always want to give audiences a good time and the best experience possible, but I think I’m always going to feel that the most here. It’s quite strange being in the building and having a different role from the last time I worked here. Years before I was an usher at The Crucible, I actually performed in a show here as a teenager, and we used the same rehearsal room we’re using now for The Hypochondriac. It’s quite an odd feeling at times!
Photo by Manuel Harlan
What do you hope audiences will take away from the play?
First and foremost, I hope they have a fun, diverting evening. There are a lot of depressing things in the news these days, and the main aim is to give people an enjoyable night and hopefully some laughter.
In terms of the play’s story, it follows Argon going on this journey to ultimately realise who has got his back. So, I think through that there’s a celebration of the people who do really care about us and aren’t out to profit from us. That’s a message I hope comes across.
The Hypochondriac is now running at the Crucible Theatre until 21 Oct. Tickets are available from sheffieldtheatres.co.uk.
